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Vincent BEAURIN Ocelle, 2017.
Ocelle, 2017.
Polystyrene, glass.
Ø 71 x 13,5 cm / Ø 28 x 5 1/4 in.
Unique
Vincent BEAURIN Ocelle, 2017.
Ocelle, 2017.
Polystyrene, glass.
Ø 71 x 13,5 cm / Ø 28 x 5 1/4 in.
Unique
Vincent BEAURIN Ocelle, 2017.
Ocelle, 2017.
Polystyrene, glass.
Ø 71 x 13,5 cm / Ø 28 x 5 1/4 in.
Unique
Vincent BEAURIN Ocelle, 2017.
Ocelle, 2017.
Polystyrene, glass.
Ø 71 x 13,5 cm / Ø 28 x 5 1/4 in.
Unique
Vincent BEAURIN Statue, 2017.
Statue, 2017.
Polystyrene, marble, glass.
Unique
Vincent BEAURIN Statue, 2017.
Statue, 2017.
Polystyrene, marble, glass.
Unique
Vincent BEAURIN Statue, 2017.
Statue, 2017.
Polystyrene, glass.
40 x 29 x 24 cm / 15 3/4 x 11 7/16 x 9 7/16 in.
Unique
Vincent BEAURIN Statue, 2017.
Detail
Polystyrene, glass.
40 x 29 x 24 cm / 15 3/4 x 11 7/16 x 9 7/16 in.
Unique

Memento vivi

Vincent Beaurin’s works are quiet, telluric, radiant witnesses.

Since his research undertaken in the 1990s – first as a designer and creator of objects, then, in no uncertain terms, as a visual artist--, what is involved for him is the creation of forms which express his world and transmit it. His world – like our world – is neither figurative nor abstract, neither decorative nor speculative, and neither useless nor useful: it is all at once, loaded with a power clamouring only to be expressed, and irradiate and impregnate our retina. An impregnation which disturbs our perceptions of boundaries and givens, permitting the advent of a space, more fluid than the artworks, in which their forces and those surrounding them are exchanging, and of a time, more vast than their observation, thanks to their optical potential and the “after-images”. I am obviously thinking here of the Spots and Ocelles, chromatic spectrums with endless variations, and (of) the “pictures” made of aluminium honeycomb panels, but also of the precious statuettes, hybrid sculptures, eccentric deities and monumental totems which Vincent Beaurin is increasingly erecting  outside traditional art venues (Arch, Maldives, 2013; Fleur/Flower for the Al Hamra show; Tree of Life, Kuala Lumpur, 2015-2016). All of them give off something sacred, but it is an open, pantheistic, magician’s sacredness, where the infinitely large and infinitely small are one, and where the muses are colours, disciples chant colour theories, and mystics are called Michel-Eugène Chevreul, Johann Wolfgang von Goethe and Paul Cézanne.

Vincent Beaurin’s artworks are measuring instruments, of the near and the unattainable, of man and landscape, of confusion and art history.

Hailing from a tradition of craftsmanship through gold and silversmithing training at the École Boulle, and recognized as a designer for his Noli me tangere collection (1994) and his collaborative projects with the Galerie Néotù, Andrée Putman and Alessandro Mendini, Vincent Beaurin attaches crucial importance to the aptness of forms and the completeness of their execution, lending his works a confident certainty, whatever their dimensions. This certainty and this obviousness are obtained through a pre-semiotic visual language: colours are neither sign-like nor symbolic, but emotional and atmospheric; forms are not complex but elementary and organic; the meaning is never transcendent but immanent. Everything is there, on view, overt, like in the early morning of the day of a heat wave, or the next day all wet from a majestic storm. Landscapes, climates, the mineral world and the sun’s cycle all form the horizon of an artist of contemplation, who reconciles in his works painting and sculpture, surface and volume, textures and outlines, self-presence and reflection about space. Because it is not a matter of merely creating, it is also necessary to show and organize the articulation of works between them, within arrangements which reveal them, and link them together, enabling them to encompass the viewer, and go beyond him, the better to trap and incorporate him (Yanomani, l’esprit de la forêt, Fondation Cartier pour l’art contemporain, Paris, 2003; The Fun of the Past, Mudam, Luxembourg, 2006; Avant la panique, Crédac, Ivry-sur-Seine, 2006; Le Spectre, Atelier Cézanne, Aix-en-Provence, 2010; Couronne, 2013; Etat alchimique, Fondation Brownstone, Paris, 2017).

Vincent Beaurin’s works are go-betweens, light, sentimental and tough.

Never smooth, at times harsh, invariably physical, they are like those knucklebones, pieces of flint and pebbles which sometimes emerge on their surfaces, and which we are fond of handling in the palm of our hand. Memento vivi. They ask us to be there and situate ourselves, to remove ourselves from our liquid world to establish a contact zone to be used both physically and sensually, in a state of introspection and listening. To this end, they offer a powdered harmony, an intense calm, a vigorous serenity, that, needless to add, of the alchemist, but above all that of an artist drawn along by a radical quest: the quest for the exposure of optical and pictorial phenomena, forms of liaison and synaesthesia, and a sincere state of the world and art.

Clément Dirié
June 2017

Vincent BEAURIN Statue, 2017.
Statue, 2017.
Polystyrene, glass.
35 x 34 x 19 cm 13 3/4 x 13 3/8 x 7 1/2 in.
Unique
Vincent BEAURIN Ocelle, 2017.
Ocelle, 2017.
Polystyrene, glass.
Ø 71 x 13,5 cm / Ø 28 x 5 1/4 in.
Unique